This month, Alice resumes her journey across Canada as James Reaney’s adaptation of Lewis Carroll’s Alice Through the Looking-Glass opens at the Edmonton Citadel’s Shoctor Theatre on February 27 to March 20.
Christine Brubaker continues as the director of this Alice revival, and Ellie Heath plays Alice. The show was a hit at the 2014 Stratford Festival and has now toured across Canada in Ottawa, Charlottetown, and Winnipeg.
To purchase tickets, call 1-888-425-1820 (780-425-1820) or order online here.
Alice Through the Looking-Glass director Jillian Keiley with actors playing Alice across Canada: Gwendolyn Collins (Winnipeg), Ellie Heath (Edmonton), Trish Lindström (Stratford Festival) and, seated, Natasha Greenblatt (Ottawa and Charlottetown). Photographed in the Palm Room of Spadina House, Toronto, June 2015.
James Reaney’s adaptation of Lewis Carroll’s Alice Through the Looking-Glass opens at the Manitoba Theatre Centre at the John Hirsch Mainstage this month on November 25 to December 19.
Alice Through the Looking-Glass at the Manitoba Theatre Centre, November 25 to December 19, 2015
Christine Brubaker is the director of the Manitoba Theatre Centre’s production. After Winnipeg, Alice’s next stop is the Citadel Theatre in Edmonton, February 27 to March 20, 2016.
To purchase tickets, call 1-877-446-4500 (204-942-6537) or order online here.
♦Not to be missed! Special “Monday Mix”pre-show chat on December 7
♦ “Talkback”post-show Q&A on December 1, 8, 15, and 16
Gwendolyn Collins as Alice, Tristan Carlucci as Tweedledum, and Aaron Pridham as Tweedledee in Alice Through the Looking-Glass. (Photo courtesy Royal Manitoba Theatre Centre)Sunday September 26, 2015 in Winnipeg: Special guests play chess with Alice (Gwendolyn Collins) down at The Forks (Culture Days 2015).Alice Through the Looking-Glass costume designs by Bretta Gerecke, courtesy Royal Manitoba Theatre Centre.November 3, 2015: The cast of Alice Through the Looking-Glass, courtesy Royal Manitoba Theatre Centre.
Thank you all for coming to the Stratford Public Library on Sunday October 18 to hear Thomas Gerry speak on “Theatrical Features of James Reaney’s Emblem Poems”. Professor Gerry focused in particular on the metaphor of perspective in James Reaney’s “Egypt” emblem poem.
“When we were taught [as children] to draw railway tracks as meeting at a point, our world views shrank and were subjected to artificial limits. This analysis of perspective explains for readers of Reaney’s emblems a good deal about the emblems’ style. They require their readers to ‘make a visionary correction’, and to see the world, in Blake‘s word, as ‘infinite’. — Thomas Gerry in The Emblems of James Reaney, page 73.
“Egypt” by James Reaney. First published in Poetry (Chicago) 115.3, December 1969.
Professor Gerry explained the tradition of the emblem poem in literature and its use of allegorical meaning to rouse the faculties. He also compared the pyramid structure from “Egypt” to the “family tree pyramid” poem that appears in James Reaney’s play Colours in the Dark:
It takes
Two parents
Four Grandparents
Eight Great grandparents
Sixteen Great great grandparents
Thirty-two Great great great grandparents
Sixty-four Great great great great grandparents
One hundred and twenty-eight Great great great great great grandparents
Two hundred and fifty-six Great great great great great great grandparents
Five hundred and twelve Great great great great great great great grandparents
One thousand and twenty-four Great great great great great great great great grandparents
He then led us in performing the poem and explained how “the pyramid shape recurs as an emblematic feature of the play” (The Emblems of James Reaney, page 84).
October 18, 2015, Stratford Public Library Auditorium
Thank you, Thomas Gerry, for your spirited lecture, and thank you also to the staff of the Stratford Public Library — Sally Hengeveld, Julia Merritt, Krista Robinson, and Robyn Godfrey — for your support of this event.
October 18, 2015 — Susan Reaney, Susan Wallace, Thomas Gerry, and James Stewart Reaney (Photo by Elizabeth Reaney)
Next year’s speaker will beJohn Beckwith, composer, who collaborated with James Reaney on many musical works. The annual lecture is a project developed by The Stratford Public Library and Poetry Stratford, and features a talk by a person who is knowledgeable about the life and work of Stratford poet and playwright James Reaney and of writing in the Southwestern Ontario region, which is such a strong element in Reaney’s writing.
Here are photographs from our happy afternoon near Stratford, courtesy Elizabeth Reaney:
Former doctoral student of James Reaney’s and now professor of literature at Laurentian University, Thomas Gerry explores the history of the literary emblem, and explains the meanings behind ten of James Reaney’s emblem poems.
“The Tree” and “The Riddle” are two of Reaney’s emblem poems featured in The Emblems of James Reaney:
“The Riddle” by James Reaney. First published in Armadillo 2 1970.“The Tree” by James Reaney. First published in Poetry (Chicago) 115.3, December 1969.
The annual lecture is a project developed by The Stratford Public Library and Poetry Stratford, and features a talk by a person who is knowledgeable about the life and work of Stratford poet and playwright James Reaney and of writing in the Southwestern Ontario region, which is such a strong element in Reaney’s writing.
Composer John Beckwith (Photo courtesy the Canadian Music Centre)
James Reaney was fortunate to have composer John Beckwith set many of his poems to music: The Great Lakes Suite, A Message to Winnipeg, and Twelve Letters to a Small Town. Beckwith and Reaney also collaborated on longer operas Night-blooming Cereus, The Shivaree, and Crazy to Kill.
To listen to original recordings of Beckwith-Reaney works, visit the Canadian Music Centre‘s Composer Showcase.
James Reaney and John Beckwith, Summer 2003, in London, Ontario. Photo by Colleen Reaney
Summer 1937 — The Reaney farmhouse and the old barnyard. The original barn was built in 1869, and the house was built in 1875.James Reaney (far right) with his cousins, Elsie, Kathleen, and Mary, Summer 1930 near Stratford, Ontario.
James Reaney feeding the chickens (age 5) with his cousins Mary and Elsie (1931)James Reaney in the garden at the farm, July 1985. (Photo by Wilma McCaig)
Alice Through the Looking-Glass director Jillian Keiley with actors playing Alice across Canada: Gwendolyn Collins (Winnipeg’s Royal Manitoba Theatre Centre), Ellie Heath (Edmonton’s Citadel Theatre), Trish Lindström (the Stratford Festival) and, seated, Natasha Greenblatt (NAC and Charlottetown’s Confederation Centre of the Arts). Photographed in the Palm Room of Spadina House, Toronto, June 2015.
This summer the Charlottetown Festival will present James Reaney’s adaptation of Lewis Carroll’s Alice Through the Looking-Glass at the Homburg Theatre at the Confederation Centre for the Arts in Charlottetown, Prince Edward Island.
Alice Through the Looking-Glass at the Charlottetown Festival, June 24-August 29
This production of Alice is the Atlantic Canada premiere of last summer’s Stratford Festival hit. How fitting that Alice would journey to PEI — the home of Anne of Green Gables! Long ago Mark Twain called Anne Shirley “the dearest and most lovable child in fiction since the immortal Alice.”
To purchase tickets, call 1-800-565-0278 (902-566-1267) or order onlinehere.
Trish Lindstrom as Alice in Alice Through the Looking-Glass, May 2014 at the Stratford Festival. Photo by Cylia Von Tiedemann.
♦ Jane Urqhart: Fifth Business by Robertson Davies ♦ Monika Lee: The Donnellys by James Reaney ♦ Michael Hurley: Perpetual Motion by Graeme Gibson ♦ Shani Mootoo: All the Broken Things by Kathryn Kuitenbrouwer
“James Reaney is one of our best Gothic writers from Southern Ontario, and he is one of the most influential. He’s had a huge impact on a lot of writers who are more famous than he is, like Alice Munro and Margret Atwood,” says Monika Lee, Professor of English Literature at Brescia College.
“James Reaney’s plays — Colours in the Dark (1969), Baldoon (1976), and The Donnellys (1974-7) — as well as his short stories “The Bully” and “The Box Social” (reprinted in The Box Social and Other Stories in 1996), also assume Gothic elements of the macabre rooted in nightmarish families and uncanny action. […]
What makes this locale so prone to Gothic tales is the failure of communication between family members or social groups. In the absence of communication, strange projections and psychological grotesqueries spring up and rapidly grow to unmanageable proportions. Malevolent fantasies are the source and sustenance of the Gothic tradition.” —Michael Hurley and Allan Hepburn in The Concise Oxford Companion to Canadian Literature, pages 593-594. William Toye, Ed., Oxford University Press, 2011.
Director Jillian Keiley’s production of Lewis Carroll’s Alice Through the Looking Glass, adapted for the stage by James Reaney, opens December 9 to January 3 at the National Arts Centre in Ottawa.
Jillian Keiley is the National Arts Centre’s English Theatre Artistic Director, and she led a successful production of Alice Through the Looking Glass at the Stratford Festivalearlier this summer.
Lois Anderson as the White Queen and Natasha Greenblatt as Alice in Alice Through the Looking Glass, National Arts Centre, Ottawa, December 9, 2014 to January 3, 2015. Photo by David Krovblit.
James Reaney 